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    Movie Review

    The Little Things a solid if imperfect entry in the crime drama genre

    Alex Bentley
    Jan 27, 2021 | 11:47 am
    The Little Things a solid if imperfect entry in the crime drama genre
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    At their best, crime dramas can be an intense experience as police and criminals engage in a cat-and-mouse game. The films are usually on the side of the cops, but showing the frailties of those supposedly on the right side of the law has become a popular aspect of many modern movies in the ever-expanding genre.

    In The Little Things, it’s the capability of the ones doing the investigating that’s put under a microscope. Joe Deacon (Denzel Washington) works for the Kern County Sheriff’s Department, but he is confronted with his past when he’s sent on an errand to his old stomping ground with the Los Angeles County Sheriff’s Department. It’s clear from his chilly reception that things did not end well there, although he doesn’t let that stop him from inserting himself into a new investigation.

    A series of women either have been murdered or gone missing, and the similarities to a case Joe handled when he was with the department are striking. He gloms on to Detective Jim Baxter (Rami Malek) to track the new case, and the two immediately find common ground in their dedicated-to-a-fault mentalities. As they hone in on their prime suspect, Albert Sparma (Jared Leto), their dogged personalities prove to be both a help and hinderance to the pursuit.

    Written and directed by John Lee Hancock, the film maintains a nice rhythm throughout. Although both Joe and Det. Baxter appear to have what it takes to be good cops, Hancock includes just enough scenes to plant doubt into the viewers’ minds. He doles out meager information about Sparma, with what is shown being more than enough to view him as supremely creepy, although whether that qualifies him to be a killer is called into question.

    The tropes of the genre keep the film going even when the story falters a bit. Hancock includes more than a few narrative leaps in logic, and it’s only because of similar films that have come before and talent of the cast that the missteps don’t stop the story’s momentum. The downtrodden cop looking for redemption is a cliché almost as old as film itself, but the movie features plenty of moments that help Joe and the story itself overcome that familiarity.

    At 66, Washington can no longer move like he once could, but he still has the presence that few others can offer. The way he narrows his eyes and seems to consider every word before saying it are just two of the many ways he elevates his role. Malek is an acquired taste. His type of acting doesn’t seem to fit well here, as he doesn’t have the gravitas or life experience to be completely believable. Leto, on the other hand, has a long history of being disturbing in different roles, and he makes the most of his limited screentime.

    The Little Things, the first of Warner Bros’ 2021 slate to go directly to HBO Max, is a solid if imperfect entry in the crime drama genre. It offers little that fans haven’t seen before, but some fine filmmaking and great acting make it a worthwhile experience.

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    The Little Things will debut in theaters and on HBO Max on January 29.

    Jared Leto in The Little Things.

    Jared Leto in The Little Things
    Photo by Nicola Goode
    Jared Leto in The Little Things.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

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    Avatar: Fire and Ash opens in theaters on December 19.

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